city of Ushuaia
is known as the end of the world city. It is the southernmost
city in the planet, located across the Chilean territory, separated
by the Beagle
Channel, Atlantic and Pacific Oceans merger / border
zone between Argentina and Chile /Chile
/ 300 miles from Falkland Islands (United Kingdom- Europe).
The name of the channel (Beagle
Channel) refers to the Brigantine HMS Beagle in
which the English sailor Robert Fitz Roy arrived in 1831, along
with the scientist Charles
Darwin and a native american Yámana who
was returned to his land by the British Crown in order to “christianize”
View: islands, Andean mountains, birds, sea wolves
Average temperature in March-April is 10º .
Courtesy of Museo Del fin del mundo and
Museo del Presidio - Ushuaia + photos
More information about the location and the trip.
Navigation time: 3 hours during the afternoon.
Name of the ship: Barracuda
Barracuda is the oldest ship that can make that trip through the
Capacity 60 people
Video version The Paradigm Confines Tour
NBP project by Ricardo Basbaum
Documenta 12 Kassel
between 16/6 to 23/09
THE PARADIGM CONFINES TOUR is a live edition while
sailing during 3 hours the same circuit Charles Darwin sailed
in 1831 on the brigantine HMS Beagle expedition in which he accomplished
his famous Evolution Theory.
Duration: 3 hours Boat: Barracuda Departure: saturday
31 March, 2 pm Puerto de Ushuaia - Patagonia - Argentina
MIS formulates a set of variables regarding spaces and times.
The Paradigm Confines Tour proposes,
on one hand, a physical location that offers an exceptional moment
for community (the 3 hour navigation tour) for a limited group
of attendants, and on the other hand, an on-line location (differed
and continuous time) where the documentation of the in situ version
will be published (chats, sound track, videos of the trip, texts,
This edition diverts the artistic biennial device towards a daily
city activity - a tour through the physical beauties of the local
scenery - and vice versa. MIS presents a mise-en-scène
on tour made of: projects that go beyond physical location and
chronological time, a research lab on travel with guests from
different cities and its own soundtrack
on the drift . This introduces us - by going through devices
and genres - in an interstitial zone of the mega historical narratives
and episteme. The Paradigm Confines Tour challenges
us to put an end to these narratives and episteme, to displace
them from our perception threshold, to blend them and to decisively
turn them into a drink: Paradigma Sour.
This powerful drink will operate on these canons, and was tasted
on tour in order to welcome artists, critics, and guest curators
more to all those who wish to join us.
Paradigm Confines Tour, according to these references, proposes
a getaway from the standard representational methodologies in
a 3 hour navigation tour that re-locates the more or less common
expected devices of an international biennial: trans-national
reflective conversation, interdisciplinary show, media range,
and along with them it presents this mise-en-scène sailing.
The projects, texts and conversations propose cartography in its
intertextual dimension, re-writer and re-situate means, structures
is an exploration through an exciting and complex topography that
allows perceiving the different superposed and juxtaposed layers
of which a landscape (cultural and physical) is constructed. This
abundance of concepts, in synchrony with the exotic, exuberant
nature of the site, dissolves positivistic neutralisms and offers
of the own constitutive act. The boat is a moving setting: the
invoked signs oscillate in a swinging movement between the powerful
physical landscape and the dislocated projects and critical values
in the laboratory, between being performers and audience. The
roles, the landscape, the sound track, the presented projects,
the lab, all those work as text and context of a mise-en-scene.more...
The work dynamics will consist of a set of questions:
do we relate with these narratives in the perspective of these
new cultural long-range events?, Is the biennial event (the first
was done in 1895) accordingly placed in the present times?, A
new Biennial: what for and why? What kind of deconstructive and
postcolonial readings can be made?
Which is the role and purpose of these cultural and artistic productions
in these type of events?, What kind of contribution can
projects as MIS put
forward?, Can they be effective as an institutional critical practice
operating with the same art mechanisms?. The navigation through
the geographic-semantic sides of the biennial is to navigate through
the edges of its staging, touching its borders and structures
it cannot be denied that this same distance allows to introduce
art among other discourses and to examine contradictions. And
to ask ourselves: what would allow a critical dialogue between
the practices both artistic and theoretical that approach critical
practice today? , Is the way of approaching the institutional
criticism from the perspective of artistic and/or theoretical
practice sufficient? , And what kind of effectiveness does it
provide?, Which criteria, which paradigm analysis should be the
support when these critical practices turn into “study object”?
, Is art the most advanced research field that exists nowadays?
Ricardo Basbaum says).